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It appeared that Yamaha introduced a new line called SX series at NAMM, with available sizes that seemed to complement the CF series.

Is there any business insider here on PW, currently attending NAMM, who can provide some insights to this new line?

I got this news because Facebook popped up an ad from Yamaha Music. Two early commenters on that Facebook post were not very positive about it. I somehow couldn't find these two comments anymore.

One of them, I believe, was a regular here; he said the treatment Yamaha referred to had been done for years by other makers. The other said he had played many SX pianos and they are not comparable to his S600 (what's this?) I kind of doubt the second one, logically, mainly because this line is brand new and he would have to be extremely well connnected with Yamaha to be able to play "many" of them. Afterall, even it's been a few years now, CF series instruments are still hard to find, let alone many.

These pianos (the SX series) are being officially unveiled at NAMM as I write this. The general public and, even their dealers, have not yet even seen them, let alone played them.

Just yesterday I met with Hugh Sung and Domenic Cicchetti for a private look at these pianos. Domenic Cicchetti is a jazz pianist who played for Liza Minnelli for 15 years, Meatloaf for 4 years, and has had a career within the music industry with Technics, Steinway, and now Yamaha.

I will put up a brief video as soon as I upload it so everyone here can get a "first taste".

I believe there were two on display- one in the premium piano room (by appointment only this year) and another in the main Yamaha room. If I recall my conversation with the product designers (note: this conversation was not happening in their native language), I believe only the premium room piano had the latest refinements to the rim (this was among the first of the production models in the world).

My group was evenly split on which piano they liked best in the room between the S7X and the new Bösendorfer 214VC.

These pianos (the SX series) are being officially unveiled at NAMM as I write this. The general public and, even their dealers, have not yet even seen them, let alone played them.

Just yesterday I met with Hugh Sung and Domenic Cicchetti for a private look at these pianos. Domenic Cicchetti is a jazz pianist who played for Liza Minnelli for 15 years, Meatloaf for 4 years, and has had a career within the music industry with Technics, Steinway, and now Yamaha.

I will put up a brief video as soon as I upload it so everyone here can get a "first taste".

Will they really call it "Yamaha SX"?I just googled Yamaha sx, and got plenty of hits for motor bikes.

I believe there were two on display- one in the premium piano room (by appointment only this year) and another in the main Yamaha room. If I recall my conversation with the product designers (note: this conversation was not happening in their native language), I believe only the premium room piano had the latest refinements to the rim (this was among the first of the production models in the world).

My group was evenly split on which piano they liked best in the room between the S7X and the new Bösendorfer 214VC.

It's also interesting how Yamaha prices the SX series (on MSRP) to define its market segment. Apparently they consider it lower than CF series, S7X being "cheaper" than CF4 on the website.

Aesthetics-aside (such as plate finish), the only superficially visible differences I could tell, as a total lay person, between CF6 and C6X are open pin block, thicker (outer?) rim, and one or two more bolts securing the plate to the rim of CF6. I wonder what's different, aside from the A.R.E. Yahama talks about, of SX series to the 'older' S, CX, or CF series.

From my observations at the NAMM show, the main differences on both the Yamaha SX series and Bösendorfer VC series (from their brand counterparts) is in the rim. Both are incorporating harder woods: for example, the Bosie VC now incorporates Beech, something that the German manufacturers have been using for decades.

It's interesting that the marketing material, introducing this "revelation" states "The greatest challenge lay in the further development of the resonance case principle... because a maximum of resonance and ability to project sound should be achieved. The acoustic construction is thereby the most important and decisive area for building an outstanding concert grand piano" Pianos like Hamburg Steinway, Steingraeber, Grotrian, Bluthner, Sauter etc. have known this for centuries.

From my observations at the NAMM show, the main differences on both the Yamaha SX series and Bösendorfer VC series (from their brand counterparts) is in the rim. Both are incorporating harder woods: for example, the Bosie VC now incorporates Beech, something that the German manufacturers have been using for decades.

It's interesting that the marketing material, introducing this "revelation" states "The greatest challenge lay in the further development of the resonance case principle... because a maximum of resonance and ability to project sound should be achieved. The acoustic construction is thereby the most important and decisive area for building an outstanding concert grand piano" Pianos like Hamburg Steinway, Steingraeber, Grotrian, Bluthner, Sauter etc. have known this for centuries.

To be fair, the one manufacturer is marketed rather strongly on tradition, and is in many ways built with that in mind (composers who wrote music for a specific model they still produce, and a couple of piano designs which are well over 100 years old). They've been extremely careful to make sure recent design changes are well liked by pianists and brand afficionadi, who are used to their signature sound.

The other manufacturer is likely trying to produce a tonal improvement that is easily implemented to the production targets of a much more prolific line. Nobody else has been able to produce pianos of that "landed" quality/consistency in similar numbers (there may be better pianos out there, but built in much smaller numbers than the demand for 7'6" Yamahas). I believe the S7X was built to slot against the Steinway B in certain situations, offering a longer length and some premium features, while being a lower cost piano than the extremely expensive CF line.

Both are daunting undertakings to revise or enhance what are considered successful models, and I can't imagine the pressure that was on the design teams to achieve a result that makes everyone happy.

It's also interesting how Yamaha prices the SX series (on MSRP) to define its market segment. Apparently they consider it lower than CF series, S7X being "cheaper" than CF4 on the website.

Aesthetics-aside (such as plate finish), the only superficially visible differences I could tell, as a total lay person, between CF6 and C6X are open pin block, thicker (outer?) rim, and one or two more bolts securing the plate to the rim of CF6. I wonder what's different, aside from the A.R.E. Yahama talks about, of SX series to the 'older' S, CX, or CF series.

The CF4 and CF6 are hand-crafted without robotic automation in the CFX concert grand workshop in small numbers. The labor involved in producing a hand-crafted piano is significantly more than a mass-produced one. Also, the materials selected for CF4 and CF6 are of the same quality as the CFX. Basically, they are a mini-CFX.

The CX are made in a giant automated factory, using less than absolute-most-premium materials compared to CF, and the workers, I'm sure are excellent, are not the same master craftsmen at the CFX workshop. (Nevertheless, I love my C3X!)

Yamaha does not mention hand-crafted anywhere in the SX marketing description. I would guess that's why a S7X would cost less than a CF6.

To be fair, the one manufacturer is marketed rather strongly on tradition, and is in many ways built with that in mind (composers who wrote music for a specific model they still produce, and a couple of piano designs which are well over 100 years old). They've been extremely careful to make sure recent design changes are well liked by pianists and brand afficionadi, who are used to their signature sound.

The other manufacturer is likely trying to produce a tonal improvement that is easily implemented to the production targets of a much more prolific line. Nobody else has been able to produce pianos of that "landed" quality/consistency in similar numbers (there may be better pianos out there, but built in much smaller numbers than the demand for 7'6" Yamahas). I believe the S7X was built to slot against the Steinway B in certain situations, offering a longer length and some premium features, while being a lower cost piano than the extremely expensive CF line.

Both are daunting undertakings to revise or enhance what are considered successful models, and I can't imagine the pressure that was on the design teams to achieve a result that makes everyone happy.